We live in the digital information age.Increasingly, we spend more time onlineor organising our lives and informationabout who we are online. We createdigital avatars of ourselves as a resultof being in the internet age, ‘Theperformance of the self continues onthe net... It’s a media-specific maskof the self, created within Facebook’sprescribed parameters and undercertain contractual terms of use. It’sbasically an avatar 2.0’ (Mark Butler).The word ‘Avatar’ is the Hindipronunciation of the Sanskrit term‘avatara’ which means ‘to descentfrom’ and therefore ‘incarnation’. Inthis sense, avatars can be describedas incarnations of ourselves online.We live in digital spheres as digitalrepresentations of ourselves thatwe have created. This show is anexploration of the boundary betweenthe physical and digital plane, which isgrowing remarkably thin in our minds.All the work produced for this exhibitionis digital and inspired by the worldof online avatars. The digital work inthis exhibition is brought to tangibleperception through the use of lightprojection. It is a cross-over of digital3D characters, into the real and phsyicalworld.

Fresh out her student projects, this was the first solo show of Clara Bacou.

Clara Bacou was born in London, England, Camden Town with a multicultural and heterogeneous way of life, a maze of markets and the people who walk them, constant inspiration for alternative culture, music and art.

Bruce Eves:

RECOGNIZED by the United Nations as a language threatened with extinction, Polari was a secret form of communication created in the 1930s by a certain class of gay men in London at a time when concentration camps were being set up elsewhere. Quentin Crisp was perhaps the most famous pro- ponent of this amalgam of lingua franca, Italian, Romany, rhyming slang, and back-slang, and it al- lowed speakers the protection to speak freely in an environment fraught with danger. At its height in 1950s and 1960s, Polari was both a weapon and a shield – it was a weapon in its very audacity and aggression, and a shield because it protected the speaker from the real danger of social repression by being unintelligible. To quote Paul Butler, author of Polari: The Lost Language of Gay Men, this argot allowed “people of a shared iden- tity to recognize and communicate with each other [and] created both an identity and the alternative society that housed them; but by the 1970s it had come be viewed as trivializing. However, in the 1990s there was a revival of interest in Polari. It still served to create an alternative view of reality, but it is an alternative view of historical reality – history from the point of view of gay men.” At present, there is an international effort the assemble (and expand) a complete lexicon of Polari, and given there are storm clouds on the horizon, there is something subversive and potentially revolutionary in the act of possessing a secret form of com- munication. Its knowledge becomes a form of power – the power to speak (and plot) openly in the face of shifting political winds . . . If our collective gay history has taught us anything, it is that our present state of grace can, and probably will at some point, abruptly come to an end. “Work # 990: Polari 101 (a & b)” is a project that pays tribute to those forbears with nerves of steel so tough that their confrontational stance demanded a grudging respect. It is a work that is both funny and frightening; both sexy and serene; and one

that wallows in both its superficiality and deeply subversive intellectualism. Bruce Eves June 28, 2017 Oscar Figueroa is strong to stay, so is Francesco Albano, Daniel Segrove, Gon Bregu, Sivia Mei, Silvia Argiolas, and Michael Davey.We are excited having to feature the experimental nature of ceramist artist Natalia Laluq. Work will be created by using clay, pottery wheel, and kiln. RKG’s front area-entrance become a backdrop of celebration. Ceramic-residency is demonstration of studio experience in the two month-long. All process, for the visitors will be part of the show.